Monsieur Ibrahim (2003)

So much average

It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Francois Dupeyron has directed a masterpiece in cinematic excellence. Don't miss this very compelling drama. "Monsieur Ibrahim" has a performance by Omar Sharif that extends his dramatic displays far better than any since "Dr. Zhivago". His costar is Pierre Boulanger who plays Moses also called Momo in the film. Moses is only 16 and is being raised by his depressed Jewish father who reprimands Momo constantly. Momo or Moses becomes enamored by the proprietor of the neighborhood grocery across the street. He is also enamored by the young street walkers in the same location on Blue Road. The first encounter is with Anne Suarez who plays Sylvie the young, blond prostitute who initiates him into her world. His most interesting relationship is with Monsieur Ibrahim who persistently repeats the importance of the Koran in his own life. The eventual adoption of Momo, and their adventurous trip to Turkey is as beautiful a story as one can imagine. Be sure to add this one to your must see list.

This simple type of "buddy" film story has been seen too many times before to be totally new and different to me, thus it did not grab and hold my interest and heart the same way it might have done for a young person seeing the story for the first time. And, as shown in the film, there is always a "first time".That being said, the film was pleasant enough if not overly impressive, as it was mostly a gentle little story about a lonely, older Muslim storekeeper, with a vast storehouse of wisdom and life experiences, befriending an essentially orphaned 16 year old Jewish(more or less incidentally) boy in 1960 Paris, and the small slices of daily life in the teeming semi-ghetto they shared as the old man's wisdom and life's experience was gradually transferred to the next generation, as it always must be done. As the old man himself said, "if you want to learn something, don't read a book...talk to someone". Shoplifting, hooker sex, a suicide, failed first love, an adoption, a buddy road trip, and the end...there you have it. Not a lot of weight here, but enjoyable enough. And, it must be for most as this story is filmed again and again through the years and this one was nearly as good as any. The story worked well enough for me until the final buddy road trip, where it all ended a bit too abruptly for my taste. Too much had been shared to end it all so quickly. Seeing an older man/young boy story like this one unfolding, I might suspect an underlying pedophilia reason for the man's intense interest in the boy. What a pleasure to see that not develop here, knowing all too well the weird and sick story development of many of today's films that is often so disgusting to mature viewers.Many thanks to the filmmaker for not taking that edgy "modern" track, and for keeping the film's overall sense of sweetness and loving paternalism intact to the end.

I have one very general criticism of this movie. I'm just going to try and kind of argue it out as I write. Well, the style of the movie is quite light-hearted. But it also deals with quite serious subject matter. It has its funny, sad and touching moments but never has them in the extreme: poignant, hilarious or tragic moments. But, I hear you say, Momo's father leaving, is pretty tragic. So is Momo disowning his mother and Paul not being real and Ibrahim dying. I agree, they are very tragic, but none of them (except perhaps the latter) is made to really jerk the tears out of an audience. That is not their purpose in the film. Now, I don't think this is necessarily a bad thing at all: to have a light-hearted style for serious content. In fact, it's quite refreshing and matter of fact that way. And the film, I think, successfully uses this style. Except for one thing. All this serious stuff they deal with, it's just the background to the story. The real story is the friendship/ relationship between Ibrahim and Momo, and in the process all these additional strands of the story, which each could have easily become the main one, get kind of glossed over. Told quickly, without depth. And so in the process I find, that no story gets told very deeply at all. The real point is made yes, and in a subtle way, but we're still left (or I am left) with a few questions and a wee bit of emptiness. For example, I really wanted to know what Momo thought about Paul's apparent non-existence. But, it is never mentioned again in the film. We are just left to fathom out who was lying, as Momo is, but we don't get any feedback on what was a pretty important...thing (couldn't think of a word) in his life. I actually really liked this film, but the more I think about it, the more I find this fault bothering me. That nothing is explored to it's fullest. Even the build up of Ibrahim's and Momo's relationship is kind of rushed. And their trip to Turkey doesn't add all that much to the film. I appreciate the fact that this may be the director's strategy. On some days, the uneventful-ness of Blue Street is captured really well. But the trip to Turkey is kind of like a bunch of tourist shots. Well, I said I'd argue myself out. And I think I certainly went round in a few circles there. But, my main point was: I don't think so many seemingly momentous/dramatic events in Momo's life should have been put in, if they were going to be unexplored and redundant.

I like the simplicity of this movie. No expensive sets, no complicated dialog, no beautiful stars. The co-dependence of youth and old age is beautiful. The young boy learns how to smile and win. His estrangement from his father and his new found lust for sex have been effectively captured. The old man makes peace with his impending death. The movie has some pearls of wisdom. Its a never ending cycle - all rivers flow into the sea - into the immensity. Its not what you get, its what you give that makes you rich. And no one can take those riches away from you. I wish more reel had been spent on the car drive from France to Turkey, instead of just showing some clouds floating by.